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  • Best Studio for Film and Video Production in London — Every Movie Has a Lesson


    </p> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">London has long been a powerhouse of film,<br /> television, and digital media, a city where creativity meets<br /> craftsmanship. In the heart of this vibrant landscape<br /> stands</span><span data-preserve-html-node="true">Soundstage Studios, one of the capital’s premier<br /> destinations for</span> <a data-preserve-html-node="true" class="c1" href="https://soundstagestudios.co.uk/film-studio-in-london-booking-in-soundstage-studios/"><br /> <span data-preserve-html-node="true">film and video production</span></a><span data-preserve-html-node="true">. Whether you’re an<br /> independent filmmaker, a global brand, or a production agency<br /> seeking a world-class space, Soundstage Studios offers the<br /> facilities, expertise, and flexibility to bring your vision to<br /> life.</span></p> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">From fully equipped soundstages and green<br /> screen setups to end-to-end production and post-production<br /> services, the studio is designed to meet the evolving demands of<br /> modern media. And with a central London location, tailored booking<br /> options, and a dedicated in-house team, it’s never been easier to<br /> elevate your next shoot.</span></p> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">Interested in working with us? You<br /> can </span><a data-preserve-html-node="true" class="c1" href="https://soundstagestudios.co.uk/contact/"><span data-preserve-html-node="true">get in<br /> touch</span></a> <span data-preserve-html-node="true">via phone on</span> <strong data-preserve-html-node="true"><span data-preserve-html-node="true">+44 (0)20<br /> 8961 7890</span></strong> <span data-preserve-html-node="true">— we’d love to hear about your<br /> project.</span></p> <p data-preserve-html-node="true" class="c3"><span data-preserve-html-node="true"><img fetchpriority="high" decoding="async" data-preserve-html-node="true" src="https://fs2.prposting.net/uploads/2025/7/1/NnFQrLRmwdN1Y94wQmhYW088D8m8ssjqBvWgUH7X.jpg" width="602" height="401" alt="NnFQrLRmwdN1Y94wQmhYW088D8m8ssjqBvWgUH7X.jpg"/></span></p> <h2 data-preserve-html-node="true" class="c4"><span data-preserve-html-node="true">Who Are We?</span></h2> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">At</span> <strong data-preserve-html-node="true"><span data-preserve-html-node="true">Soundstage<br /> Studios</span></strong><span data-preserve-html-node="true">, we’re more than just a film studio –<br /> we’re a creative hub where vision meets execution. With established<br /> roots in the heart of London’s media scene, we’ve built a<br /> reputation for delivering seamless, high-quality production<br /> experiences to clients across the film, music, advertising, and<br /> content creation industries.</span></p> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">Our team includes experienced directors,<br /> producers, DOPs, editors, and sound engineers, all committed to<br /> pushing creative boundaries while maintaining technical excellence.<br /> Whether you’re producing a broadcast commercial, a viral campaign,<br /> or a cinematic short, our crew is on hand to support every stage of<br /> the process.</span></p> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">We’re trusted by global brands, major-label<br /> artists, and independent filmmakers alike. Why? Because we combine<br /> cutting-edge facilities with reliable, knowledgeable on-site<br /> technical support, something that sets us apart in an industry<br /> where time and quality are everything.</span></p> <h4 data-preserve-html-node="true" class="c5"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Tip: Come Prepared, Leave<br /> Empowered</span></strong></h4> <p data-preserve-html-node="true" class="c2"><em data-preserve-html-node="true"><span data-preserve-html-node="true">Our dedicated tech team is on standby<br /> throughout your shoot to assist with everything from rigging and<br /> lighting to camera systems and audio feeds. They’re not just<br /> technicians, they’re problem-solvers, offering live troubleshooting<br /> and set assistance to keep your shoot running<br /> smoothly.</span></em></p> <h4 data-preserve-html-node="true" class="c5"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Tip: Simplify the<br /> Setup</span></strong></h4> <p data-preserve-html-node="true" class="c2"><em data-preserve-html-node="true"><span data-preserve-html-node="true">Unsure about kit compatibility or power<br /> requirements? Our studio tech specs are transparent and<br /> pre-published, and we offer a pre-shoot tech consultation to help<br /> you arrive confident and ready to roll.</span></em></p> <p data-preserve-html-node="true" class="c2"><em data-preserve-html-node="true"><span data-preserve-html-node="true">At Soundstage Studios, we’ve designed every<br /> aspect of the space to support your workflow, so you can focus on<br /> what matters most: making something great.</span></em></p> <h2 data-preserve-html-node="true" class="c6"><span data-preserve-html-node="true">What We Offer?</span></h2> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">At Soundstage Studios, we provide a full<br /> spectrum of film and video production services all under one roof.<br /> From initial concept development to the final cut, our studio is<br /> equipped to support projects of every scale, whether you’re<br /> producing a high-end commercial, a music video, or a branded social<br /> campaign. Below is an overview of what you can expect when working<br /> with us:</span></p> <div data-preserve-html-node="true"> <table data-preserve-html-node="true" class="c14"> <colgroup data-preserve-html-node="true"> <col data-preserve-html-node="true" class="c7"/> <col data-preserve-html-node="true" class="c8"/></colgroup> <tbody data-preserve-html-node="true"> <tr data-preserve-html-node="true" class="c11"> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c9"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Category</span></strong></p> </td> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c9"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Services Offered</span></strong></p> </td> </tr> <tr data-preserve-html-node="true" class="c13"> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c12"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Studio Facilities</span></strong></p> </td> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Fully equipped soundstages with adaptable<br /> layouts</span></p> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Green screen and infinity cyc<br /> walls</span></p> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Customisable set design and construction<br /> options</span></p> </td> </tr> <tr data-preserve-html-node="true" class="c13"> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c12"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Equipment Hire</span></strong></p> </td> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– 4K / 6K / 8K cinema cameras (including RED<br /> and Blackmagic)</span></p> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Professional-grade lighting kits (ARRI,<br /> Aputure, etc.)</span></p> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Audio capture & monitoring<br /> tools</span></p> </td> </tr> <tr data-preserve-html-node="true" class="c13"> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c12"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Production<br /> Services</span></strong></p> </td> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Concept development and scripting<br /> support</span></p> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Full production crew, including directors,<br /> DOPs, and gaffers</span></p> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Location scouting and shoot<br /> logistics</span></p> </td> </tr> <tr data-preserve-html-node="true" class="c13"> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c12"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Post-Production</span></strong></p> </td> <td data-preserve-html-node="true" class="c10"> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– High-spec editing suites with<br /> industry-standard software</span></p> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Colour correction and grading</span></p> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">– Audio design, mixing, and<br /> mastering</span></p> </td> </tr> </tbody> </table> </div> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">This setup ensures clients can see our core<br /> offerings at a glance while reinforcing the studio’s end-to-end<br /> capabilities.</span></p> <h2 data-preserve-html-node="true" class="c6"><span data-preserve-html-node="true">What Makes Us Different?</span></h2> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">At Soundstage Studios, we don’t just offer<br /> space and equipment, we offer a creative partnership. Here’s what<br /> sets us apart from other production studios in London:</span></p> <ul data-preserve-html-node="true" class="c18"> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c15"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Prime Central London<br /> Location.</span></strong> <span data-preserve-html-node="true">Conveniently situated with<br /> excellent transport links and on-site parking, our studio is easily<br /> accessible whether you’re arriving with a full crew or just a<br /> creative brief.</span></p> </li> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c12"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Flexible Packages for Every<br /> Budget.</span></strong> <span data-preserve-html-node="true">From indie productions to global<br /> campaigns, we offer customisable pricing structures to suit<br /> projects of all shapes and sizes, without compromising on<br /> quality.</span></p> </li> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c12"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Client-Centred<br /> Collaboration.</span></strong> <span data-preserve-html-node="true">Our ethos is simple: your<br /> vision, realised. We work hand-in-hand with each client to ensure<br /> every production runs smoothly, creatively, and on<br /> schedule.</span></p> </li> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c12"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">In-House Creative<br /> Direction.</span></strong> <span data-preserve-html-node="true">Need help shaping your concept?<br /> Our team includes experienced creatives who can assist with<br /> everything from storyboarding and shot planning to brand<br /> integration and campaign consistency.</span></p> </li> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c17"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Sustainable Production<br /> Practices.</span></strong> <span data-preserve-html-node="true">We’re committed to reducing our<br /> environmental footprint, using low-energy lighting, offering<br /> digital documentation workflows, and encouraging reuse and<br /> recycling wherever possible.</span></p> </li> </ul> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">When you choose Soundstage Studios, you’re not<br /> just booking a facility – you’re gaining a trusted partner<br /> dedicated to making your production the best it can be.</span></p> <p data-preserve-html-node="true" class="c3"><span data-preserve-html-node="true"><img decoding="async" data-preserve-html-node="true" src="https://fs2.prposting.net/uploads/2025/7/1/A1tkIBCCv6YzkizJWR5MNu1AHr6hJfRAHibI40ls.png" width="602" height="401" alt="A1tkIBCCv6YzkizJWR5MNu1AHr6hJfRAHibI40ls.png"/></span></p> <h2 data-preserve-html-node="true" class="c6"><span data-preserve-html-node="true">Who We’ve Worked With?</span></h2> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">Our studio has played host to a wide range of<br /> productions from fast-paced commercial shoots to cinematic music<br /> videos and award-winning short films. We’re proud to have<br /> supported:</span></p> <ul data-preserve-html-node="true" class="c18"> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c15"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Global Brands.</span></strong><br /> <span data-preserve-html-node="true"> From fashion and tech to automotive and lifestyle,<br /> we’ve worked with international companies creating campaigns for<br /> television, online, and social media platforms.</span></p> </li> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c12"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Major Label Artists.</span></strong><br /> <span data-preserve-html-node="true">Our soundstages and green screen facilities have been used in<br /> music videos for chart-topping acts, offering the flexibility and<br /> scale needed for high-impact visuals.</span></p> </li> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c12"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Independent<br /> Filmmakers.</span></strong> <span data-preserve-html-node="true">We actively support the UK’s<br /> independent film scene, providing professional-grade space and kit<br /> at competitive rates for emerging directors and<br /> producers.</span></p> </li> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c17"><strong data-preserve-html-node="true"><span data-preserve-html-node="true">Creative Agencies and Content<br /> Studios.</span></strong> <span data-preserve-html-node="true">Whether it’s branded storytelling,<br /> product launches, or social content, agencies choose us for our<br /> collaborative approach and consistent delivery.</span></p> </li> </ul> <p data-preserve-html-node="true" class="c19"><em data-preserve-html-node="true"><span data-preserve-html-node="true">“Soundstage Studios is a rare find — the<br /> team are technically spot-on and creatively switched-on. It’s the<br /> kind of place that feels like part of your crew, not just a<br /> facility.”</span></em><em data-preserve-html-node="true"><span data-preserve-html-node="true"><br data-preserve-html-node="true"/></span></em> <span data-preserve-html-node="true">—</span><br /> <em data-preserve-html-node="true"><span data-preserve-html-node="true">Creative Producer, London-based agency</span></em></p> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">Want to see what we’ve helped<br /> create? </span><a data-preserve-html-node="true" class="c1" href="https://soundstagestudios.co.uk/contact/"><span data-preserve-html-node="true">Get in<br /> touch</span></a> <span data-preserve-html-node="true">or explore our portfolio for examples of<br /> recent work.</span></p> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">Ready to bring your vision to life? We’d love<br /> to hear more about your project. Whether you’re after a full-scale<br /> production package or just need to hire a studio for the day, our<br /> team is here to help you find the right fit. We offer:</span></p> <ul data-preserve-html-node="true" class="c18"> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c15"><span data-preserve-html-node="true">Studio tours by appointment – Come and see the<br /> space, meet the team, and discuss your needs in person.</span></p> </li> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c12"><span data-preserve-html-node="true">Free consultations with a producer – Get<br /> expert advice on planning, budgeting, and creative direction before<br /> you even start shooting.</span></p> </li> <li data-preserve-html-node="true" class="c16"> <p data-preserve-html-node="true" class="c17"><span data-preserve-html-node="true">Flexible booking options – Whether it’s a<br /> one-day shoot or a month-long production, we tailor our packages to<br /> fit your schedule and budget.</span></p> </li> </ul> <h2 data-preserve-html-node="true" class="c6"><span data-preserve-html-node="true">Why Soundstage Studios?</span></h2> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">Whether you’re a filmmaker seeking a reliable<br /> space to shoot, a creative agency managing high-stakes campaigns,<br /> or a content creator aiming to elevate your visuals, Soundstage<br /> Studios is built for you. With industry-leading facilities, a<br /> hands-on team, and a deep understanding of the production process<br /> from concept to delivery, we offer a professional, end-to-end<br /> solution right in the heart of London.</span></p> <p data-preserve-html-node="true" class="c2"><span data-preserve-html-node="true">From the moment you walk through our doors to<br /> the final cut, you’ll have a partner committed to bringing your<br /> ideas to life with precision, creativity, and care. At Soundstage<br /> Studios, your production is in expert hands.</span></p> </div> <p><br /> <br /><a href="https://everymoviehasalesson.com/blog/2025/7/best-studio-for-film-and-video-production-in-london">Source link </a></p> </div> <div style="margin-top:var(--wp--preset--spacing--40);" class="wp-block-post-date has-small-font-size"><time datetime="2025-07-10T10:38:46+03:30"><a href="https://cafilm.ir/best-studio-for-film-and-video-production-in-london-every-movie-has-a-lesson.html/">10/07/2025</a></time></div> </div> </li><li class="wp-block-post post-670 post type-post status-publish format-standard hentry category-movie-news tag-daniela tag-every tag-forever tag-has tag-lesson tag-movie"> <div class="wp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained" style="padding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)"> <h2 class="wp-block-post-title has-x-large-font-size"><a href="https://cafilm.ir/daniela-forever-every-movie-has-a-lesson.html/" target="_self" >Daniela Forever — Every Movie Has a Lesson</a></h2> <div class="entry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained"><p> <br /> </p> <div> <head><br /> <meta http-equiv="X-UA-Compatible" content="IE=edge,chrome=1"/><br /> <meta name="viewport" content="initial-scale=1"/></p> <p> <!-- This is Squarespace. --><!-- don-shanahan-mj2i --><br /> <base href=""/><br /> <meta charset="utf-8"/><br /> <title>MOVIE REVIEW: Daniela Forever — Every Movie Has a Lesson























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  • Superman — Every Movie Has a Lesson

    Superman — Every Movie Has a Lesson







    MOVIE REVIEW: Superman — Every Movie Has a Lesson























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  • ONE FLEW OVER THE CUCKOO’S NEST: 50 Years Of Madness


    Introduction

    In the pantheon of American cinema, few films have left as indelible a mark as One Flew Over the Cuckoo’s Nest. Released in 1975, the film not only swept the major categories at the Academy Awards but also deeply embedded itself in the cultural consciousness. Fifty years later, its themes of institutional control, rebellion, individuality, and the thin line between sanity and madness remain as potent and relevant as ever.

    As we commemorate this monumental anniversary in 2025, Cinema Scholars takes a deep dive into the fascinating journey of how this iconic film came to life, from its literary origins to its legacy as one of the greatest films ever made.

    One Flew Over the Cuckoo's Nest
    Jack Nicholson as Randle Patrick ‘R.P.’ McMurphy in a scene from “One Flew Over the Cuckoo’s Nest” (1975). Photo courtesy of United Artists.

    Beginnings

    The story of One Flew Over the Cuckoo’s Nest begins with Ken Kesey’s groundbreaking 1962 novel. The book drew inspiration from his time working the night shift at a psychiatric facility and his participation in government-sponsored LSD experiments. Kesey crafted a powerful narrative about individuality versus authority, told through the eyes of the silent observer, Chief Bromden. A critical success, the novel quickly gained a cult following for its unflinching look at the horrific and dehumanizing effects of institutionalization.

    Kirk Douglas was captivated by the novel. To such an extent that in 1962, he acquired the film and stage rights. He intended to portray the lead character, the rebellious Randle R.P. McMurphy, in both productions. The play had a modest run, but Douglas was convinced the story could reach new heights on the big screen. He spent years trying—and failing—to get the film made. Studios balked at the controversial content and bleak tone. It wasn’t until 1971 that Kirk’s son, the up-and-coming actor/producer Michael Douglas, convinced his father to allow him to produce the movie. Kirk Douglas spoke to The Guardian in 2017:

    “My father, Kirk, had acquired the rights to Ken Kesey’s novel in the early 1960s and developed it into a Broadway play, with him playing the lead character, RP McMurphy. He tried for years to turn it into a film, but it never got any momentum. Meanwhile, I was at university in Santa Barbara and was very politically active, what with the Vietnam war going on. I loved the book: it was a brilliantly conceived story of one man against the system. I had never thought about producing, but I told my dad, “Let me run with this”

    Publicity photo of Michael Douglas on “The Streets of San Francisco” (1975). Photo courtesy of ABC Television via Public Domain.

    Michael Douglas initially optioned the film to director Richard Rush, who was unable to secure financing. Eventually, in 1973, Douglas announced he would co-produce the film with Saul Zaentz under the umbrella of Fantasy Records’ new film division. Zaentz loved Keasy’s book and wanted him to rewrite the screenplay. Keasy eventually withdrew from the project due to creative differences over casting and the overall narrative.

    Pre-Production

    Lawrence Hauben and Bo Goldman were eventually hired to write a new screenplay. This time from the third-person point of view. This was opposed to Keasy’s version, which was told in the first person and from the mind of Chief Bromden (Will Sampson). Hal Ashby was hired to direct the project. But he was quickly replaced by Milos Forman after he fled Czechoslovakia for the United States. Things had come full circle as Forman was Kirk Douglas’s first choice to direct over ten years earlier. 

    Forman, who was struggling with mental health issues at the time, was holed up in New York City. Staying at the famed Chelsea Hotel, Douglas and Zaentz sent Forman a copy of Keasy’s novel. The director didn’t realize this was the project that Kirk Douglas had hired him to direct ten years earlier. Regardless, Forman loved the material, later stating in 2012:

    “To me, [the story] was not just literature, but real life, the life I lived in Czechoslovakia from my birth in 1932 until 1968. The Communist Party was my Nurse Ratched, telling me what I could and could not do; what I was or was not allowed to say; where I was and was not allowed to go; even who I was and was not”

    Jack Nicholson and Will Sampson on the set of “One Flew Over the Cuckoo’s Nest” (1975). Photo courtesy of United Artists.

    Douglas also knew that authenticity would be key to grounding the film. He and Zaentz scouted locations across the country before settling on the Oregon State Hospital in Salem, Oregon—an actual mental institution that not only served as the filming location but also provided an atmosphere that was impossible to replicate on a soundstage. It was also the setting of Keasy’s novel. The hospital’s progressive and eccentric director, Dr. Dean Brooks, agreed to let the production film on-site, and even appeared in the movie as Dr. Spivey.

    Jack Nicholson

    Kirk Douglas had held out hope that he could reprise his role as McMurphy for the film version. However, by the early 1970s, at age 59, he was deemed too old. The search for the perfect McMurphy was exhaustive. Several major stars were considered, including Gene Hackman, James Caan, Marlon Brando, and even Burt Reynolds. But it was Jack Nicholson, fresh off his Oscar-nominated role in Chinatown, who ultimately won the part. The relationship between Kirk and Michael Douglas would be strained for many years over this.

    Nicholson brought a wild-eyed unpredictability and fierce intelligence to McMurphy. The actor blended rebellion with vulnerability in a way that captured the essence of the character. His casting would prove pivotal. Not only did it mark a career-defining role for Nicholson, but it also set the tone for the ensemble cast. Nicholson did extensive research for the role, which included spending time with patients in a psychiatric ward and observing electroshock therapy.

    Supporting Cast

    The supporting cast was a mix of established actors and fresh faces. Danny DeVito (Martini) was the first to be cast as he also played the part on Broadway. Christopher Lloyd (Taber) and Brad Dourif (Billy Bibbit) were virtually unknown at the time, yet each delivered unforgettable performances that launched their careers. Dourif’s portrayal of the stuttering, emotionally fragile Billy earned him an Oscar nomination.

    Brad Dourif stars in “One Flew Over the Cuckoo’s Nest” (1975). Photo courtesy of United Artists.

    Chief Bromden was played by Will Sampson and was referred to by Mel Lambert (who portrayed the harbormaster in the fishing scene). Lambert, a used car dealer, met Douglas on an airplane flight when Douglas told him they needed a “big guy” to play the part of the Chief. Lambert’s father often sold cars to Native American customers and several months later Lambert phoned Douglas to say: “The biggest sonofabitch Indian came in the other day!” The rest is history.

    Casting Nurse Ratched proved to be difficult. Angela Lansbury, Anne Bancroft, Geraldine Page, Ellen Burstyn, and Jane Fonda all turned down the role. The character was cold, manipulative, and emotionally repressive—not a part many actresses wanted to take on. Eventually, Lily Tomlin was cast. However, Forman became interested in the relatively unknown Louise Fletcher, and the change was made. Her quiet, composed demeanor masked a chilling authority that made Nurse Ratched one of the most memorable and terrifying antagonists in film history. 

    Filming

    After a week of rehearsals, which included co-existing with the institutionalized patients, principal photography on One Flew Over the Cuckoo’s Nest began on January 13, 1975, in Salem and Depoe Bay, Oregon. Many of the actors fully immersed themselves in the performance, often staying in character when not filming. Brooks, in his capacity as hospital director, assigned a patient for each cast member to shadow. Some of the supporting players even slept on the wards at night. Douglas later found out that many of the patients were criminally insane. Michael Douglas spoke to The Guardian in 2017:

    “The other insane decision Saul and I made was to shoot the film in an actual mental hospital in Oregon in January, when it gets dark at three in the afternoon….He (Dean Brooks) wanted to incorporate his patients into the crew. We ended up with a number of them working in different departments. I didn’t realise until later that many of them were criminally insane. We had an arsonist working in the art department”

    One Flew Over the Cuckoo's Nest
    Dr. Dean Brooks and Jack Nicholson in a scene from “One Flew Over the Cuckoo’s Nest” (1975). Photo courtesy of United Artists.

    The production was not without its challenges. Forman, known for his meticulous approach, often clashed with cast members, especially since the director refused to show his actors dailies. This incensed Nicholson in particular, who at one point stopped speaking with Forman altogether. Haskell Wexler, the film’s cinematographer, was fired by Forman over creative differences and replaced by Bill Butler. Both were nominated for Academy Awards.

    The shoot was grueling, running over schedule and over budget. At one point, Nicholson famously accepted the BAFTA Award for Best Actor for Chinatown while filming in the Oregon State Hospital and still in character as McMurphy. Nicholson, surrounded by his castmates, delivers an unhinged acceptance speech that had the British audience both baffled and amused. It was a testament to just how deeply he had immersed himself in the role. Zaentz, who was personally financing the film, came up with the additional $2 million needed to complete the picture.

    Post-Production

    Once filming wrapped, the challenge of shaping the raw footage into a coherent and emotionally powerful film fell to editor Richard Chew. The decision to use natural light, handheld cameras, and long takes gave the film a documentary-like feel. Combined with Jack Nitzsche’s haunting score, the film maintained a delicate balance between realism and stylized narrative.

    One of the biggest hurdles during post-production was pacing. Forman and his team wanted the story to unfold at a deliberate tempo, allowing the audience to experience the oppressive monotony of institutional life. Editor Sheldon Kahn worked closely with Forman to trim the fat without losing the soul of the story.

    https://www.youtube.com/watch?v=gtHI0ipkgEo

    While United Artists had initial reservations about the tone and length of Forman’s final cut of the film, early test screenings of One Flew Over the Cuckoo’s Nest proved to be encouraging. The audience response was overwhelmingly positive, which set the stage for a groundbreaking release in 1975.

    Release and Reception

    One Flew Over the Cuckoo’s Nest had its world premiere in Chicago on November 19, 1975. It was the second-highest-grossing film released that year in the United States and Canada at $109 million, and the seventh-highest-grossing film of all time at the time. As it was released in November, most of its gross was in 1976 and was also the highest-grosser for the calendar year 1976 with rentals of $56.5 million. Worldwide, the film grossed over $163,250,000 on a $4 million budget. It was the highest-grossing film released by United Artists up to that time.

    Critically, the film was also a success, although some major critics of the time did have reservations. Famed critic, Roger Ebert, stated in 1975:

    “Milos Forman’s One Flew Over the Cuckoo’s Nest is a film so good in so many of its parts that there’s a temptation to forgive it when it goes wrong. But it does go wrong, insisting on making larger points than its story really should carry, so that at the end, the human qualities of the characters get lost in the significance of it all. And yet there are those moments of brilliance.”

    Later, upon reflection in 2003, Ebert would change his tune a bit, putting the film on his ‘Greatest Movies’ list, and stating:

    “It was the first film since “It Happened One Night” (1934) to win all five of the top Academy Awards, for best picture, actor (Nicholson), actress (Louise Fletcher), director (Milos Forman), and screenplay (Lawrence Hauben and Bo Goldman). It could, for that matter, have won, too, for cinematography (Haskell Wexler) and editing (Richard Chew). I was present at its world premiere, at the 1975 Chicago Film Festival, in the 3,000-seat Uptown Theatre, and have never heard a more tumultuous reception for a film (no, not even during “E.T. The Extra-Terrestrial” at Cannes)”

    Saul Zaentz, Jack Nicholson, Louise Fletcher, and Michael Douglas posing with their Oscars at the 1976 Academy Awards on March 30, 1976. Photo courtesy of the Los Angeles Times, CC BY 4.0, via Wikimedia Commons.

    Legacy

    Half a century later, One Flew Over the Cuckoo’s Nest remains a touchstone of American cinema. Its themes of resistance to oppressive authority, the sanctity of the individual spirit, and the cruelty of bureaucratic systems continue to resonate in today’s society. The film has been preserved in the National Film Registry and frequently appears on lists of the greatest films of all time. It’s also inspired countless parodies and homages. The Nurse Ratched character even received a Netflix origin series, Ratched, in 2020, evidence of her lasting impact.

    In 2025, we honor not just a movie, but a cultural phenomenon. One Flew Over the Cuckoo’s Nest endures because it dares to challenge power, elevate the voices of the silenced, and remind us that the fight for dignity and autonomy is always worth waging. From a novel that sparked controversy to a Broadway adaptation, to a film that made history, One Flew Over the Cuckoo’s Nest remains, five decades on, a triumph of art and vision. 

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  • Revisiting David Fincher’s Dark Masterpiece


    Introduction

    It’s hard to believe that David Fincher’s Se7en has been around for thirty years. Released in September 1995, the film continues to hold the power to shock, disturb, and fascinate. With its unforgettable ending and relentless mood, it has carved out a permanent place in film history. A dark, disturbing yet visually stunning film, Se7en was one of the defining films of the 1990s cinema renaissance—a decade where horror and noir merged.

    The story of two detectives tracking a killer who uses the seven deadly sins as a pattern for his murders was bold, unsettling, and unlike anything audiences had ever seen. At a time when many thrillers favored action and happy endings, Se7en leaned into darkness and despair.

    Upon release, Se7en didn’t just stand out, it stood alone, and thirty years later, the film continues to provoke debate and admiration. Its influence can be seen in countless crime dramas and psychological thrillers that followed in the ensuing decades. But few have matched its impact. On this milestone anniversary, we look back at how Se7en came to be, the people who brought it to life, and the chilling legacy it has left behind.

    Se7en
    Morgan Freeman and Brad Pitt star in “Se7en” (1995). Photo courtesy of New Line Cinema.

    Beginnings

    The roots of Se7en trace back to screenwriter Andrew Kevin Walker, who penned the script in 1991 while working at Tower Records in New York City. Walker’s time in the city left him bitter and disillusioned, a mood that bled into every word of his screenplay. The script, which was grim, unrelenting, and audaciously downbeat, was passed around Hollywood, initially drawing interest but little commitment. Andrew Kevin Walker spoke to Uproxx in 2015:

    “I had moved from a very suburban upbringing in Pennsylvania, so New York City, for me, was a real culture shock. I was in New York from ’86 to ’91, so it was the height of a lot of New York City-specific stuff, like the crack cocaine epidemic on the rise…The idea — “seven deadly sin murders” — was a reaction to living in New York and putting myself in a John Doe head space where you could walk down the street and see every “deadly sin” on every street corner”

    In 1992, Walker met producer Arnold Kopelson (Platoon, The Fugitive). Kopelson saw the raw power of the script, but studios thought it was too downbeat and balked at the film’s now-iconic ending, which involved a certain someone’s head in a box. Se7en lingered in limbo with Walker rewriting the ending to be more upbeat. Then, a critical miscommunication changed everything. Walker’s original script (with the head in the box) accidentally made its way to director David Fincher. He loved it and was immediately on board.

    Se7en
    Gwyneth Paltrow and Brad Pitt in a scene from “Se7en” (1995). Photo courtesy of New Line Cinema.

    David Fincher

    David Fincher came to Se7en licking the wounds of his disastrous experience on Alien 3, his directorial debut. The studio interference and on-set chaos of that production nearly drove him out of filmmaking entirely. When Se7en came along, Fincher saw an opportunity to tell a story without compromise. Fincher, who had made a name for himself directing music videos, had once famously said:

    “I’d rather die of colon cancer than make another movie”

    While turned off by studio interference, Fincher saw the dark and brooding potential of Walker’s script and was intrigued. When New Line Cinema sent Fincher the corrected screenplay, the director balked and insisted that he would only direct Walker’s original vision. De Luca, the head of production at New Line Cinema, also agreed that filming should begin as soon as possible to subvert studio interference, which Fincher was wary of.

    Kopelson and executives at New Line continued their efforts to make changes to the original script, while Fincher and de Luca pushed back, forming a united front against the studio. The duo got the leverage they needed when big-name actors became attached to the project, including Morgan Freeman, Brad Pitt, and Kevin Spacey. Pitt specifically agreed to join the cast on the condition that the head-in-the-box ending remained in place.

    Se7en
    Arnold Kopelson, Brad Pitt, and Morgan Freeman on the set of “Se7en” (1995). Photo courtesy of New Line Cinema.

    Casting

    Offered to and rejected by both Denzel Washington and Sylvester Stallone, the script for Se7en arrived on Brad Pitt’s doorstep at a critical time in his career. Following the release of both Interview with the Vampire: The Vampire Chronicles and Legends of the Fall (both 1994), Pitt was becoming typecast into the hunky, one-dimensional leading man roles that he railed against for much of his career. Fincher didn’t initially consider Pitt for the role of Detective Mills. But that changed after the two met. Fincher believed Pitt’s likable personality would be the perfect counter-balance to some of the character’s questionable actions.

    Walker named the character of Detective Somerset after writer W. Somerset Maugham. Initially, he saw actor William Hurt (Kiss of the Spider Woman, Body Heat) playing the character. However, Fincher and de Luca both decided on Morgan Freeman after Robert Duvall and Al Pacino rejected the part. Still, New Line was hesitant to pair a black detective with a white one, as that might be seen as copying the successful Lethal Weapon franchise formula.

    Robin Wright and Christina Applegate both auditioned for and turned down the role of Tracy, Detective Mill’s wife, before being offered to Pitt’s real-life partner at the time, Gwyneth Paltrow. About 100 other actors also tested for the role. The number of big-name actors who either auditioned for or turned down the part of serial killer John Doe is impressive. Ned Beatty, Val Kilmer, Gene Hackman. R. Lee Ermey and R.E.M. front man Michael Stipe were all considered before finally landing on Kevin Spacey. Spacey insisted his name be omitted from the film’s marketing and opening credits to protect the killer’s identity from viewers.

    Filming

    Principal photography on Se7en began in December 1994 and took place primarily in Los Angeles. Select locations were dressed to resemble a generic urban landscape. The production design emphasized deterioration, anonymity, and atmospheric gloom. Fincher opted to use rain machines in outdoor scenes to establish a sense of constant doom and oppression. Fincher had a deliberate visual and tonal strategy for the film. He sought to depict a setting devoid of hope and defined by entropy and decay.

    Se7en
    Brad Pitt, Kevin Spacey, and Morgan Freeman star in “Se7en” (1995). Photo courtesy of New Line Cinema.

    Working with cinematographer Darius Khondji, Fincher created a visual environment that was characterized by low-key lighting, saturated shadows, and persistent rainfall. These elements contributed to an intentionally ambiguous setting, one without clear geographic or temporal markers. In addition, Walker was on set throughout the production to provide suggestions or quick rewrites, if needed. However, he did not contribute much as Walker wanted Fincher to adapt the script with the director’s artistic vision intact.

    Aesthetically, Se7en was influenced by films such as All That Jazz (1979), The Silence of the Lambs (1991), Klute (1971), The French Connection (1971), and others. Darius Khondji named Klute as his biggest influence in terms of what he was going for stylistically. Khondji spoke with American Cinematographer in 2018:

    “Back when we were doing Se7en it (Klute) was a major discovery for me since Gordon Willis’ work on that movie has everything in it: the use of toplight, using widescreen compositions for intimacy rather than big vistas, the way that vertical strips of the city are shown in horizontal mode, the fragments of faces and bodies”

    Brad Pitt, who was only available for fifty-five days before he began filming 12 Monkeys (1995), insisted on performing his stunts throughout the filming of Se7en. The result was slipping on the rain-slickened hood of a car and crashing through its windshield. The actor suffered cut tendons and nerves in his left hand. Pitt returned to the production a few days later, having received stitches and a cast on his forearm, which had to be written into the script. You’ll notice throughout parts of the film that Pitt keeps his left hand obscured from view.

    https://www.youtube.com/watch?v=KPOuJGkpblk

    Post-Production

    New Line was less than thrilled when they saw how dark the dailies were, and Khondji suggested that the footage be printed brighter. Fincher, learning from his experiences on Alien 3, refused to compromise. Subsequently, Fincher and Kopelson turned early footage into a promotional showreel that they had screened for all the theater owners at the ShoWest convention in Las Vegas. The footage tested positively, and the interference from New Line quickly stopped.

    Editor Richard Francis-Bruce worked closely with Fincher to achieve the right pacing and tone. The opening title sequence, designed by Kyle Cooper, featured startling jump cuts, handwritten typography, and disturbing imagery from the journals of the killer. All of this was scored by a fantastic remix of the Nine Inch Nails song “Closer.” All of it is classic Fincher, and the result is one of the best title sequences in film history. 

    Composer Howard Shore worked closely with Fincher to develop an ominous yet subdued score that would match the visually grim aesthetic. Shore’s music, coupled with the film’s sound design, emphasized ambient noise and heightened the atmosphere of dread. Dialogue was mixed with care to maintain clarity in scenes often filled with rain, ambient city noise, or emotional tension. Along with Nine Inch Nails, David Bowie, The Statler Brothers, Gravity Kills, Marvin Gaye, Gloria Lynne, Haircut One Hundred, Billie Holiday, Charlie Parker, and Thelonious Monk all contributed to the eclectic soundtrack.

    What’s In The Box?

    One of the most debated aspects of Se7en is its harrowing conclusion. The film ends with Detective David Mills discovering that the killer, John Doe, has orchestrated the murder of Mills’s wife, Tracy, and had her head delivered in a box to provoke Mills into fulfilling the final deadly sin, wrath. Needless to say, Kopelson and the suits at New Line were not thrilled with this downbeat ending and made every effort to have it changed.

    Se7en
    Promotional still of Brad Pitt and Morgan Freeman for “Se7en” (1995). Photo courtesy of New Line Cinema.

    Kopelson and New Line suggested multiple alternative scenarios, including one in which Tracy survived or that the box contained something less graphic. They believed that the audience might not accept such a grim final twist. However, both Pitt and Fincher were adamant that the original ending be unaltered. Pitt, in particular, made it a condition of his continued involvement with the film. Otherwise, he would drop out of the project. Fincher agreed, maintaining that the entire narrative structure depended on the inevitability of that final moment.

    Michael De Luca also played a pivotal role in preserving the script’s integrity. As a senior executive at New Line, he was one of the few who supported the filmmakers and resisted internal pressure to modify the ending. In the end, the combined efforts of Fincher, Pitt, and De Luca prevailed. The result was one of the most iconic endings to a film in modern cinema history. To satisfy the execs at New Line, Fincher tacked on a brief voiceover at the end, narrated by Freeman and quoting Ernest Hemingway:

    “Ernest Hemingway once wrote, ‘The world is a fine place and worth fighting for.’ I agree with the second part”

    Release and Reception

    Se7en was released on September 22, 1995, in North America. It earned $13 million in its opening weekend. It eventually grossed over $327 million worldwide against a $33 million budget, New Line’s most expensive film to date. Needless to say, it was a commercial success and received widespread media coverage. Much of the early box-office success can be attributed to Pitt’s popularity across the US, as well as a lack of strong films going up against it. An unexpected smash hit, Se7en was one of the most profitable films of 1995.

    Critical reactions varied. Some reviewers praised the film’s style, tone, and performances. Others found its subject matter disturbing or excessive. Janet Maslin of The New York Times cited its atmosphere and craftsmanship, while Roger Ebert initially criticized its bleak worldview, yet later acknowledged its lasting impact in retrospective commentary. Particular praise went to Freeman and Spacey, with some reviewers also noting Pitt’s continued successful transition to more serious roles as opposed to those based on his good looks. 

    Morgan Freeman and Brad Pitt on the set of “Se7en” (1995). Photo courtesy of New Line Cinema.

    Se7en received an Academy Award nomination for Best Film Editing (Richard Francis-Bruce). Although it didn’t win, the nomination underscored the film’s technical achievements. In subsequent years, it has appeared on numerous critics’ lists of top thrillers. It’s also been included in film curricula and retrospectives throughout the world. New Line re-released the film in Los Angeles on December 26 and in New York City on December 29, 1995, in an unsuccessful attempt to gain Oscar nominations for Freeman, Pitt, and Fincher.

    Legacy

    Since its release, Se7en has been cited as a major influence on crime dramas and psychological thrillers. Its narrative structure, centered around a sequence of symbolic murders based on the Seven Deadly Sins, has been echoed in films such as The Bone Collector, Saw, and television series including True Detective and Mindhunter. The film also marked the emergence of David Fincher as a major director. His later works, including The Game, Fight Club, Zodiac, Gone Girl, and The Social Network, were all critical and commercial hits. The three-time Oscar nominee was also largely responsible for bringing the award-winning Netflix series House of Cards to life.

    With one of the most shocking and jaw-dropping endings in film history, Se7en continues to blow audiences away. Thirty years after its initial release, the film also continues to be praised by critics and audiences alike. Recent 4K releases have allowed viewers to appreciate their stunning visuals and immersive experience. Brilliant direction by Fincher, chilling atmosphere, and a compelling narrative have cemented its status as a timeless and influential film classic that continues to captivate and provoke audiences.

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  • Scholars’ Spotlight: Paul Newman


    Early Life

    Paul Newman was born in the Cleveland, Ohio, suburb of Shaker Heights on January 25, 1925. Although Newman’s father, Arthur Sr., was Jewish, his mother, Theresa, was a Christian Scientist. Newman himself had no religious affiliation and was essentially Agnostic (though he was ordained as a minister of the United Life Church to officiate weddings).

    Both of his parents’ ancestry was from Eastern Europe, with his mother being an immigrant from Slovakia (then part of the Austro-Hungarian Empire) and his father’s parents hailing from Hungary. The Newmans owned a sporting goods store in town where Paul and his older brother, Arthur Jr., would help out when not in school.

    While in the first grade, Newman got his first taste of acting when he earned the role of the court jester in a school production of Robin Hood. Even then, the acting bug hit him hard, and just a few years later, at the age of ten, he was cast in a Cleveland Play House production of Saint George and the Dragon.

    “Acting isn’t really a creative profession. It’s an interpretative one.”

    – Paul Newman

    Paul Newman
    Paul Newman and Melvyn Douglas in a scene from “Hud” (1963). Photo courtesy of Paramount Pictures.

    In 1943, upon graduating from Shaker Heights High School, Newman headed to Athens, Ohio, where he attended Ohio State University briefly. Rumors about Newman’s exit continue to this day. Expulsion gossip includes Newman rolling a beer keg down the campus hill and hitting the Dean’s car. There’s also a variation where he stole a tray from a dining hall and used it to sled down this same slope drunkenly. Newman himself dispelled these stories, stating that he left to join the Navy V-12 pilot training program. He did not complete this due to his color blindness being a disqualifying condition.

    Military Career

    After getting dropped by V-12, Newman was shipped off to boot camp.  After he completed this training, he focused his energy on learning how to work as a radioman and gunner. During World War II, Newman served as a rear-seat radioman and gunner in torpedo bombers.

    In 1944, Newman was assigned to Pacific-based replacement torpedo squadrons, which trained replacement pilots and combat air crewmen. He also served as a turret gunner in an Avenger torpedo bomber.  In 1945, Newman was sent to the Essex-class aircraft carrier, the USS Bunker Hill, shortly before the Battle of Okinawa. His life was spared when his pilot developed an ear infection and could not fly bomber missions.

    All of the gunners that Newman had served with were killed in action by a kamikaze attack in the ensuing battle. Newman’s decorations for his service included the American Area Campaign Medal, the Good Conduct Medal, and the World War II Victory Medal. He parted ways with the Navy in 1945.

    Paul Newman during his time in the US Navy.

    Acting and Education

    After leaving the Navy, Newman resumed his collegiate career at Kenyon College in Gambier, Ohio, graduating with a Bachelor of Arts degree in 1949. After graduating, he worked as an actor with the Belfry Players in Wisconsin and the Woodstock Players in Illinois. Newman married Jacke Witte around this time. The couple would go on to have three children together, divorcing in 1958.

    In 1951, Newman briefly attended Yale to pursue a Master of Fine Arts degree in the Department of Drama. He left after the first year of the three-year program to study under Lee Strasberg at the Actors Studio in New York City.

    Newman’s acting career began in earnest in 1952. His first role was for the television series Tales of Tomorrow that year. The following year, he would make his Broadway debut in the original production of William Inge’s Picnic.

    James Dean and Hollywood

    Newman’s first Hollywood movie, The Silver Chalice, was released in 1954 and was a box office bomb. Newman called the historical drama “the worst motion picture produced during the 1950s.” When the movie was broadcast on TV in 1966, Newman took out a newspaper ad apologizing for his performance and asking people not to watch the movie. This plea backfired, and the movie earned spectacular ratings.

    Paul Newman
    Virginia Mayo and Paul Newman in a scene from “The Silver Chalice” (1954). Photo courtesy of Warner Bros.

    Also in 1954, Newman appeared in a screen test with James Dean for the movie East of Eden (1955). The role Newman was up for was Aron Trask, the brother of Dean’s Cal Trask. Newman lost out on the role to Richard Davalos.

    When Dean died the following year, Newman replaced him in a television adaptation of Ernest Hemingway’s The Battler. This led to Newman replacing Dean in Somebody Up There Likes Me (1956), which became the actor’s breakout role.

    Hollywood Success and Remarriage

    1958 was a big year for Newman, both personally and professionally. He starred in Cat on a Hot Tin Roof with Elizabeth Taylor, which would earn him his first Academy Award nomination. He also appeared in The Long, Hot Summer with Joanne Woodward. Newman and Woodward had met previously in 1953 in New York City. She was an understudy in Picnic at the time.

    While making the Long, Hot Summer in 1957, they began an affair, which ended his first marriage. Newman and Woodward would marry in early 1958. The couple eschewed living in Los Angeles; instead, they settled in Manhattan for a time. They ultimately would move to Westport, Connecticut. The couple had three children of their own and would remain married for fifty years, until Newman died in 2008.

    “There are places you go, and they say, ‘Take off your dark glasses so we can see your beautiful blue eyes.’ And you just want to… you just want to… I dunno, um… thump them.”

    – Paul Newman

    Paul Newman
    Joanne Woodward and Paul Newman in a publicity portrait for “The Long Hot Summer” (1958). Photo courtesy of 20th Century Fox, Public domain, via Wikimedia Commons.

    The 1960s and Steve McQueen

    Newman’s career continued to flourish into the next decade. He made a string of classics including The Hustler (1961), Hud (1963), Torn Curtain (1966), and, of course, Cool Hand Luke (1967). The now iconic film Butch Cassidy and the Sundance Kid was also released in 1969.

    Newman and Steve McQueen battled at the box office for the majority of the decade. The pair were neck and neck for bragging rights as the highest-paid movie star. McQueen and Newman almost starred together in Butch Cassidy and the Sundance Kid. However, a dispute about which actor would receive top billing prevented McQueen from signing on as the Sundance Kid.

    The rivalry McQueen felt with Newman also occurred in the world of racing, as both actors were involved in the sport. They even shared the same racing trainer Dick Barbour, of Barbour Motorsports. The racing rivalry McQueen had with Newman was largely one-sided, as Newman essentially did his best, not worrying about what McQueen or anyone else said or did.

    Newman and McQueen weren’t always rivals. In 1969, the pair joined Sidney Poitier and Barbara Streisand to create the First Artists production company using United Artists (founded by legendary stars Charlie Chaplin and Mary Pickford, among others) as a template. Newman and McQueen would share the screen in one movie, The Towering Inferno (1974).

    In addition to acting, racing, and being a businessman, Newman was also politically active. The actor attended the March on Washington on August 28, 1963. In 1968, he campaigned for Eugene McCarthy, which included a trip back to Athens, Ohio, and the OU campus, 20-plus years after he parted ways with the university.

    Paul Newman
    Anthony Perkins (left) with Paul Newman (right) in “The Life and Times of Judge Roy Bean” (1972). Photo courtesy of National General Pictures via Public Domain.

    The 1970s and 1980s

    Newman’s career continued to be successful throughout the 1970s and 1980s. Some of the films he appeared in included The Sting (1973), Slap Shot (1977), and The Verdict (1982). He was recognized with an Honorary Oscar in 1986, and he won the real thing the following year for Best Actor in The Color of Money (1986), Martin Scorsese’s sequel to The Hustler. Over his career, Newman would be nominated a total of nine times as an actor, winning only once.

    Newman’s racing career began in earnest in 1972 when he raced at the Thompson International Speedway under the name “P.L. Newman”. He competed often in Sports Car Club of America (SCCA) events for the rest of the 1970s, winning four national championships. In 1979, he raced in the 24 Hours of Le Mans, finishing in second place.

    “I’ll never forget my first experience of being in a race car. The first thing that attracted me was the speed. That and the faint possibility that I might get good at it one day. It offered me the chance to be graceful, it just grabbed hold of me. I used to just slink off from doing pictures to try and get my (racing) license.”

    – Paul Newman

    In 1978, Newman’s son from his first marriage, Scott, tragically died of a drug overdose. Because of this tragedy, Newman started the Scott Newman Center for drug abuse prevention in memory of his son.

    Paul Newman
    Publicity photo for the American documentary film “King: A Filmed Record…Montgomery to Memphis” (1970). Left to right: producer Ely Landau, actress Ruby Dee, actor Paul Newman, and director Sidney Lumet. Photo courtesy of Maron Films via Public Domain.

    Newman’s political advocacy continued during this time. In 1970, he attended the first Earth Day event in New York City. In 1976, he traveled to Washington, DC to speak out against Big Oil in favor of divestiture of these companies. This would effectively break them up into smaller entities. He was also a proponent of nuclear disarmament, endorsing Walter Mondale for President in 1984.

    In 1982, Newman founded “Newman’s Own,” a line of food products, with writer A. E. Hotchner with the proceeds being donated to charity. He co-wrote a memoir about the subject with Hotchner, Shameless Exploitation in Pursuit of the Common Good. In 1988, Newman founded the Hole in the Wall Gang Camp. This was a residential summer camp for seriously ill children located in Ashford, Connecticut.

    Final Years

    Newman continued to act until 2007 when he announced his retirement. Some of his most famous roles during this time included The Hudsucker Proxy (1994), Road to Perdition (2002), and the Pixar animated movie Cars (2006).

    In these later years, Newman continued to work for and support charitable causes. Some of the examples of this work include the donation of $250,000 to Catholic Relief Services to aid refugees from Kosovo in 1999. He also created a $10 million scholarship fund for his Alma Mater of Kenyon College, in 2007.

    An avid racer even in his later years, Newman continued to race even after he passed 80 years of age. He stated he would retire only when he embarrassed himself. The actor won at Lime Rock at the age of 81, which was also the number he raced under. His last professional race came in 2007 at Watkins Glen International.

    Paul Newman
    Paul Newman and Tom Hanks in a scene from “Road to Perdition” (2002). Photo courtesy of DreamWorks Pictures.

    “You can’t be as old as I am without waking up with a surprised look on your face every morning: ‘Holy Christ, whaddya know – I’m still around!’ It’s absolutely amazing that I survived all the booze and smoking and the cars and the career.”

    – Paul Newman

    On September 26, 2008, Paul Newman died from lung cancer. A few months after his death, he was posthumously inducted into the SCCA Hall of Fame for car racing at the national convention in Las Vegas, Nevada, on February 21, 2009. Nine years after his death, his voice was used in the movie Cars 3 (2017). This was his last credited role.

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  • Review: A Great Cast And Fun Wedding Gags Can’t Save BRIDE HARD


    Cinema Scholars reviews the new action/comedy Bride Hard, directed by Simon West. The film stars Rebel Wilson, Anna Camp, Anna Chlumsky, Justin Hartley, and Stephen Dorff. Magenta Light Pictures is releasing Bride Hard in theaters nationwide on June 20, 2025.

    Introduction

    It’s wedding season, so cue the annual onslaught of nuptial-centric movies. From Father of the Bride and Wedding Crashers to Bridesmaids and the more recent You’re Cordially Invited, the enduring popularity of the subgenre means these films will continue to be churned out indefinitely. While these types of “chick flicks” may not be everyone’s cup of tea, it’s hard to deny the appeal of the universal themes of love, family, and friendship that make the stories so endearing.

    Colleen Camp, Da'Vine Joy Randolph Gigi Zumbado, Anna Camp, Rebel Wilson, and Anna Chlumsky in Bride Hard.
    Colleen Camp, Da’Vine Joy Randolph, Gigi Zumbado, Anna Camp, Rebel Wilson, and Anna Chlumsky in “Bride Hard” (2025). Photo courtesy of Magenta Light Pictures.

    When done right, that is. In other cases where the context and tone don’t quite meld, the result can be lackluster. Despite some clever wedding gags, a couple of tepid laughs, and incredible supporting performances from Anna Chlumsky and others, the new Rebel Wilson-starrer Bride Hard could not be saved.

    Synopsis

    Sam (Wilson) and Betsy (Anna Camp) have been besties since childhood. Despite moving apart when the girls were just 11, they have managed to maintain a tight bond through the years. Naturally, when Betsy announced her engagement, she asked Sam to be her maid of honor.

    Flash forward to the binge-fueled bachelorette party in Paris, where it is revealed to the audience that Sam has a double life as a secret operative for a clandestine organization. As she ducks in and out of the festivities to tend to her spy business, clueless Betsy and her fellow bridesmaids begin to question Sam’s loyalty.

    Flash forward again to the weekend of the big event, held at the private island of Betsy’s soon-to-be in-laws. Despite their strained relationship, Sam shows up ready to celebrate her friend’s dream wedding. That is, until a gang of armed men interrupts the ceremony with guns blazing. Now it’s up to Sam to save the day and her friendship with her childhood bestie.

    Rebel Wilson in Bride Hard. Image courtesy of Magenta Light Studios.
    Rebel Wilson in “Bride Hard” (2025). Photo courtesy of Magenta Light Studios.

    Analysis

    Bride Hard tries and fails at being the raucous comedy we’ve come to expect from this kind of film fare. While there are certainly plenty of jokes throughout the film, the actual laughs are few and far between. In most instances, setups for funny scenes fall completely flat, and pithy one-liners lack punch. A few attempts at crass humor elicit more cringes than chuckles. Though the film does have its bright spots with clever wedding-themed gags and some comical sidekick antics, the action comedy falls short of big laughs.

    The action aspect of Bride Hard isn’t quite the caliber we’re used to seeing in this kind of mid-budget flick. Still, there are some memorable sequences as Sam takes on the baddies around the estate. Creative kills with weaponized wedding decor give the movie points for originality. In addition to the ho-hum humor, the logic of the characters is as thin as the plot. While it might seem ridiculous to judge the merits of a silly action comedy, some of the emotional and narrative leaps just don’t compute.

    Performances

    While the overall timing and narrative leave much to be desired, the strong performances in the film mercifully buoy Bride Hard. Rebel Wilson carries the project as best she can as leading lady Sam. Ever charming and affable, Wilson’s take on the duplicitous character is also sly and silly at the same time. As Betsy, Anna Camp is in full blushing bride mode throughout. Camp makes cliche look adorable as she perfectly portrays her character’s somewhat vapid goodie-goodness.

    The real scene stealer of Bride Hard, however, is Anna Chlumsky as type-A sister-in-law Virginia. Chlumsky exudes a hilarious air of superiority with her wide-eyed disdain for Sam. Some of the funnier scenes of the film revolve around Chlumsky as her character’s intensely controlling nature is on full display.

    Anna Chlumsky, Anna Camp, Gigi Zumbado, Rebel Wilson, and Da'Vine Joy Randolph in Bride Hard. Image courtesy of Magenta Light Studios
    Anna Chlumsky, Anna Camp, Gigi Zumbado, Rebel Wilson, and Da’Vine Joy Randolph in “Bride Hard” (2025). Photo courtesy of Magenta Light Studios.

    Supporting Players

    Other supporting performances include a pretty fun comedic turn for Justin Hartley as Chris, an entitled and conniving friend of the family. And Da’Vine Joy Randolph as raunchy bridesmaid Lydia brings some legit laughs.

    Special kudos go to eternal bad boy Stephen Dorff, who further cements his status as the guy you love to hate. He brings his special brand of villainous gusto to Bride Hard in full force, providing a much-needed jolt of gravitas to the film.

    Conclusion

    In some comedies, nonsensical narratives are easily forgiven when matched with smart storytelling and big laughs. Unfortunately, even the strong performances and clever action of Bride Hard can’t overcome an unlikely plot and humor that just don’t click.

    Bride Hard is currently in theaters nationwide.

    Read more Cinema Scholars reviews:

    Cinema Scholars Reviews GHOSTBUSTERS: AFTERLIFE

    THE LIFE OF CHUCK Review: The Most Polarizing Film Of The Year

    Keep up with Cinema Scholars on social media. Like us on Facebook, subscribe on YouTube, and follow us on Threads, Instagram, and Bluesky

    The post Review: A Great Cast And Fun Wedding Gags Can’t Save BRIDE HARD appeared first on Cinema Scholars.





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  • We Chat With Writer/Director Brendan Devane About His New High-Altitude Horror!


    Introduction

    In the terrifying horror thriller The Sound, a world-class group of climbers is granted access to the Forbidden Wall, a mysterious rock face that has been closed for decades. Among the climbers is Sean (Marc Hills), whose grandfather made an ill-fated attempt sixty-three years earlier. During the group’s ascent, they come face-to-face with a malevolent force that quickly turns their expedition into a harrowing battle for survival, hundreds of feet above the ground.

    Interview

    Cinema Scholars’ own Glen Dower recently interviewed writer and director Brendan Devane about his new horror/thriller, The Sound, starring William Fichtner and Jocelyn Hudon. The film is slated for limited release across the United States on June 27, 2025.

    Lightly edited for content and clarity.

    Glen Dower:

    Mr. Devane. How are you, Sir?

    Brendan Devane:

    I’m good, Glen, how are you? 

    Glen Dower:

    I’m really good, thanks. We are talking about The Sound, ‘Evil Dead Meets Cliffhanger’, what do you think?

    Brendan Devane:

    Yeah, there are a bunch of comparisons you can make. In my mind, I am a really big The Thing fan, you know, Carpenter’s great film from the early 80s? I was trying to play a little bit along with those kinds of themes of unseen alien jumps into people’s heads for that kind of psychological thriller, horror feeling that Carpenter had going on there.

    Glen Dower:

    Growing up, you spent a lot of time in Colorado after you finished college. And how did your experience there, plus Native American culture, come together for the story of The Sound? 

    Brendan Devane:

    I moved to Colorado right after college. I made my parents extra happy to be a ski bum after that, and just learned how to operate in the mountains and got really into ice climbing and rock climbing, and all the other stuff that happens out there. And never really was thinking about filmmaking, I was just into live music production after that in Colorado, and started working my way into production.

    And so it’s always been in the back of my mind to have something kind of exciting that I’d liked in the past, like Cliffhanger or Vertical Limit, which I think are entertaining films, but are not very authentic as far as the climbing and how it portrays the climbing. I mean, who doesn’t love Cliffhanger? But the climbing community doesn’t like it as far as what they did. Of course, they got sued by Black Diamond big time for what they did in that opening sequence. So that’s always been part of my, not plan per se, but to make something that is a little bit more authentic to the climbing community.

    As far as Native American goes, as you can tell, I’m a big white Irish guy from upstate New York. But I did grow up in a town that is named after Iroquois words. And growing up in the 80s, we did a lot of studying about the Native American aspects of where I grew up in upstate New York, from a town called Saratoga Springs, which is Iroquois for land of the running water.

    The Sound
    Rachel Finninger stars in “The Sound” (2025). Photo courtesy of Blue Harbor Entertainment.
    Brendan Devane (cont):

    So I’ve always had an interest in Native Americans. And I played lacrosse, which is their sport, since I was a little kid, and played in a lot of leagues with the Iroquois Nationals and stuff like that, and got to know them. When you’re like me, i.e,. Not Native American, you have to tread carefully, as it’s not my story to tell. So I brought the Native Americans in to bolster that storyline.

    Glen Dower:

    You mentioned Cliffhanger you mentioned Vertical Limit, which are the two films I noted. How did you maintain a level of authenticity that perhaps those filmed lacked in favor of entertainment?

    Brendan Devane:

    It’s the reality of big wall rock climbing. That’s kind of boring! It takes hours and hours, right? Even Free Solo, one of the most exciting documentaries I’ve ever seen, took him five hours or something to do that climb. They show what 10 minutes of it, maybe, right? So you have to look for little moments in this, trying to make it authentic, because an authentic climbing movie is kind of boring, except for little spots where they may be exposed to a fall or something like that.

    It was a challenge to keep it authentic, while still providing scares or tension, or thrills like that, by involving little things where the lead characters are off rope, and he slips and he might, and he might fall or something like that, which is in the realm of possibility.

    When Chris O’Donnell jumps from one peak to the other in Vertical Limit with his two ice axes, it’s fun and exciting, but it’s not real, right? What happens is he falls to his death, right? That’s what’s going to happen in real life. So it takes a balance to try to make things exciting, as far as a Hollywood movie can, while still also trying to be authentic to rock climbing. And that’s why I decided, you know, pretty early on in the process that I couldn’t film this with, like, necessarily a regular production crew, or with actors.

    Turns out SAG doesn’t want you to put people a thousand feet in the air! So we made two separate movies. One was a straight rock climbing film with professional rock climbers and a professional rock climbing shoot team, and the other with actors and a professional production crew, and then kind of tried to meld them in post.

    https://www.youtube.com/watch?v=GfnNnuZQUs4

    Glen Dower:

    We see during the credits at the very end of the movie, we see scenes with the actors. So was that to imply these guys are legit, they work hard, as opposed to just name scrolling, to actually show them in action? 

    Brendan Devane:

    I’m always thinking of doing cool things for credits that make it a little bit interesting than just a scroll. And those were all pictures of their personal lives. It wasn’t even having to do with the film. Most of the people who were cast in this as rock climbers are rock climbers in their personal lives, maybe not professional, but Mark, the lead, who plays Sean, is an accomplished rock climber. All of them are. And so I wanted to kind of like, add a little bit to the authenticity of showing them, you know, doing this sport where typically, you know, it’s an actor who doesn’t, that’s one of my favorite parts of the Truman Show where they tell the bus driver can’t drive away in the bus because he’s an actor, right?

    And this particular movie, I wanted to make sure the actors were a part of the skills, like the original Point Break when Catherine cast those surfers, she looked for surfers with SAG cards, instead of teaching actors how to surf, those background ones, obviously not Swayze or Keanu, but so I approached it the same way. I was looking for rock climbers who were also actors.

    Glen Dower:

    Let’s talk about some of the supporting actors as well. You’ve got William Fichtner, who is one of those actors who just brings the gravitas with the undercurrent of menace or mystery, and Kyle Gass as well! How did those two guys come to be involved?

    Brendan Devane:

    Well, when you’re talking about a film like this, you’re always looking for angles to be able to promote and market the film, right? If you’re not building a film in pre-production that you can market later, you’re probably doing something wrong as a filmmaker because, without the business, there’s no show, right, as the old saying goes. So that role was always earmarked for maybe a more ‘visible’ actor. And it turned out that the actor Gabe Greenspan, who’s Jason Alexander’s son, did an amazing job, was represented by the same agent who represents Bill.

    And after I booked Gabe, I’m a big fan of ‘What’s the worst that can happen. They can say no,’ right? It’s like, ‘hey, I see you represent Bill.  Would Bill be interested in this part?’ And he read the script and was in it. And so we got him into the film. And what an amazing actor and person to work with, and just an all-around great guy outside of the business.

    Really, it was an absolute pleasure to work with Bill, and I feel very fortunate that he joined the project. As far as Kyle, I’ve always been a big Tenacious D fan. I worked with them when I was a roadie 25 years ago, back when they were first starting. And who doesn’t love Elf and Kyle’s turn as Eugene Dupree? So that was another serendipitous thing where I was working with Kyle’s agent, who at the time represented David Clennon, and Jocelyn Hudon, who also makes an appearance in the film.

    The Sound
    William Fichtner stars in “The Sound” (2025). Photo courtesy of Blue Harbor Entertainment.
    Brendan Devane (cont):

    And so I kind of bundled those three actors, like a disc, ‘hey, if I cast these two people, I get a discount on Kyle?’ So, a lot of times that’s how this casting goes when you’re not necessarily looking for auditions and your normal casting director is going through all the tapes and stuff, and I’m just looking to fill roles. You know, a lot of it just kind of comes together. And it’s about working relationships with people in the business, the agents who are getting these people to work. So that was very helpful to be able to kind of one-stop shop those casting decisions.

    Glen Dower:

    I’m also a big fan of what’s the worst they can say, apart from ‘no’.  And we just have to talk about David Clennon. I’m so glad you brought up John Carpenter’s The Thing at the very start. I saw his name in press release, and if people are reading, if I just say, “You gotta be fucking kidding…” Yes, Palmer is in this movie! I like to think this is Palmer had he not died in The Thing. So it must have been a thrill for you. Because for me, The Thing is up there in my top two favorite, perfect movies, along with Predator.

    Brendan Devane:

    Absolutely. When I saw The Thing, I think I was 10, and it scared the shit out of me! It just stuck. It’s one of those films that just sticks with you. I don’t throw around words like ‘invent’, but Carpenter kind of started the ‘contained horror’ before that was a thing. Nobody was talking about contained horror, but there it is. 12 people are stuck in a base in Antarctica. And that’s where, for me, the tension is derived from. They can’t escape each other. And they don’t know who’s infected.

    There’s a lot of gore and blood and disgusting stuff in The Thing that we don’t necessarily get into. But I tried to bring a little bit of that tension of the unknown. It’s difficult when you’re on a big wall rock climb because the people are in proximity to each other, like they are in The Thing. When you’ve got five people sitting around a little room, and they’re testing the blood, one of my favorite scenes of all time, when they’re testing the blood to see who’s infected. I tried to do a little throwback to that, where they’re testing on the radio to see what it is.

    I combined The Good, the Bad, and the Ugly, and that standoff there at the end between Angel Eyes, Blondie, and Tuco with that test. Hopefully, people catch it when Dave says, ‘It’s not like Antarctica down there’, because I did want to give him a little bit of a throwback to Palmer there. I can’t say enough great things about Dave. He became a good friend, and we still text. He’s coming to the premiere in Vegas. He’s an all-around stand-up person and a tremendous actor who I’m extremely grateful to for joining the project.

    Glen Dower:

    I just want to ask about that line. Was that line in the script before he was on board, or written for him?

    Brendan Devane:

    That was written for him. I had to sneak that one in for him. The character’s name is Kurt Carpenter. Now, that never really comes out, he’s called Kurt. And I combined Kurt Russell with John Carpenter there to give him a little thing. I think he’s called Kurt once in the film. But yeah, that’s just one of those little details, right, that make me chuckle that no one else will hear.

    Glen Dower:

    There we go, that’s the exclusive. I love that. Now, we don’t want to give too much away, but there are possibilities for a follow-up? Do we have plans for More of The Sound?

    Brendan Devane:

    Well, you always like to think so, right? But a lot of times this is determined on, you know, like somebody gives you a bag of money to go film a sequel, right? We’ll see how people respond to this and whether I do have a script written and an idea that just basically picks up from the ending of this. It goes a little bit bigger, filming in Norway and Italy and around the world as a higher kind of a higher budget thing. Part of this doing the sound is that we had to learn how to shoot a rock climbing feature horror, which I’m sure someone out there has done something.

    The Sound
    Alex Honnold stars in “The Sound” (2025). Photo courtesy of Blue Harbor Entertainment.

    I firmly believe that every movie has ever made in the 1950s was made by some French person, right? We’ve all got recycled ideas here. So, we had to learn how to do this at our budget level. It’s a little bit different from a hundred million dollars. Then you can use digi-doubles, you can green screen everything, right?

    You can make it look like Mission Impossible, but on our budget, you know, it takes a little bit more ingenuity to pull some of this off. Hopefully, we can continue the story. You never know. I’m a big fan who isn’t of Christopher Nolan and the way that he kind of likes to leaves some of his films that little up in the air of like, is the top still spinning, or is he still in the dream, or is he not in the dream? I kind of like to leave things a little open-ended at the end so that people can imagine if there’s no more, if there isn’t a sequel, people can at least imagine that the story continues in whatever way that they think that it might go.

    Glen Dower:

    Perfect. The Sound is in theaters and on digital on the 27th of June. Brendan, thank you very much for your time. It’s been a pleasure. 

    Brendan Devane:

    Thanks so much, Glen.

    The Sound is in theaters and on VOD from June 27, from Blue Harbor Entertainment.

    Read more Cinema Scholar interviews!

    Sundance 2024! An Interview With Filmmaker Daniel Barosa

    SHOWDOWN AT THE GRAND: An Interview With Writer/Director Orson Oblowitz

    Keep up with Cinema Scholars on social media. Like us on Facebook, subscribe on YouTube, and follow us on Threads and Instagram.





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  • JURASSIC WORLD REBIRTH Review – More Like Afterbirth


    Introduction

    Does anyone get excited for the birth of their fourth child? Or seventh? Or is it more like that feeling you get when you fit piece number 2000 in that last hole in the jigsaw puzzle? You know what I’m talking about. You’re excited when you dump the pieces out of the box and find all of the edges. You’re still pretty into it as you assemble the major features of the picture.

    But when all that’s left is the monotonous portions of sky and water, you grit your teeth and methodically try to fit every single remaining piece into every single remaining opening, silently cussing every time a piece doesn’t fit. As that last piece settles in, you feel relief at finishing it, mixed with the thought, “I’m never doing a puzzle again.” Is this still an analogy to having kids? You decide. Bet you’re wondering how many kids I have.

    That’s also the entirety of the Jurassic Park/World franchise. Jurassic Park was new exciting, and awesome. Every film after that has been increasingly disappointing to the point where you have to question your sanity for continuing to go back for more. You’ll even lie to yourself that number four (Jurassic World) was better than most. Am I still actually talking about kids? You know you’re thinking it.

    Jurassic World Rebirth
    Jonathan Bailey and Scarlet Johansson star in “Jurassic World Rebirth” (2025). Photo courtesy of Universal Pictures.

    Jurassic World: Rebirth is what happens when you’ve run out of ideas. Scratch that, Jurassic World: Fallen Kingdom is what happens when you run out of ideas. Rebirth is what happens when you have a midlife crisis and don’t care that you ran out of birth control. Despite its title implying a reboot of the franchise, Rebirth is just another sequel in the franchise.

    Synopsis

    To be fair, it does kinda-sorta reboot in that it’s five years later and Earth’s climate has killed the vast majority of the dinosaurs not living around the equator. The military isn’t trying to weaponize them, nobody is trying to sell them on the black market, and there isn’t a prehistoric locust to be found anywhere. There isn’t even a third attempt to build an amusement park or zoo around them. That leaves pharmaceuticals.

    That’s right folks. This time around, dinosaurs are going to cure…checking notes…heart disease? That’s it? Nothing lofty like cancer or Alzheimer’s? And, they’re not even really going to cure it, just treat it so people can live ten to twenty years longer? I guess from a how-do-we-make-as-much-money-as-possible angle, treating heart disease would be rather lucrative. Those GLP-1 medications are making boatloads of money.

    If you’re confused, dinosaurs aren’t ‘literally’ curing heart disease. However, that would be an interesting scene – a velociraptor wearing a lab coat and stethoscope walking toward a patient with a syringe. Wasn’t that a Dr. Who episode? [Googles for five minutes] Anyway, pharmaceutical executive Martin Krebs (Rupert Friend) puts together a team to go on a quest to obtain blood samples from three of the largest dinosaurs to ever live.

    Like all good video games, each dinosaur inhabits a different biome, providing a different setting for each MacGuffin. In this case, sea, land, and air. Why the largest animals? They lived the longest and had the biggest hearts. Why three different species? Diversity, I guess. And to make sure you understand how video-game-like this all is, two of the three dinosaurs are the kind that want to eat them.

    Discussion

    It’s not that the filmmakers couldn’t have made an exciting movie featuring the team hunting for one elusive herbivore. Or even getting close enough to the land dinosaur (Titanosaurus) by overcoming a bunch of sharp teeth-related obstacles. They just chose to go with the most obvious excuse to include harrowing scenes featuring a Mosasaurus (sea) and Quetzalcoatlus (air) – to send the team of humans to the carnivores.

    The team itself is a by-the-numbers quest team. In addition to the money guy, there’s the wheelman – boat captain Duncan Kincaid (Mahershala Ali), the brains – paleontologist Dr. Henry Loomis (Jonathan Bailer), the muscle/dino chow (Ed Skrein, Bechir Sylvain, Philippine Velge), and the team leader – mercenary Zora Bennett (Scarlett Johansson). All this sounds like a perfectly fine summer action blockbuster, right?

    Bechir Sylvain, Jonathan Bailey, and Scarlet Johansson star in “Jurassic World Rebirth” (2025). Photo courtesy of Universal Pictures.

    Here’s where it gets redundant and pointless – a second group of people gets tangled up in the mission. Reuben Delgado (Manuel Garcia-Rulfo) is sailing across the ocean with his two daughters, Teresa (Luna Blaise) and Isabella (Audrina Miranda), and Teresa’s stoner boyfriend Xavier (David Iacono).

    After the Mosasaurus capsizes their boat (and inexplicably doesn’t finish the job and eat them), they are rescued by Zora and crew. When they all get to the island, the two groups are separated, and the film jumps back and forth between the fetch quest crew and the stupid family drama. And all because there is a clause in the franchise contract (or so I’m told) that requires children to be put in peril. Don’t pretend you aren’t rooting for these annoying vestigial screenplay organs to become a dinosaur’s late-night indigestion.

    Further Analysis

    Here’s where it gets worse. In a nod back to Jurassic World, Jurassic World Rebirth features more mutant dinosaurs. One is a cross between a raptor and a pterosaur, and the other is a cross between a xenomorph and a rancor. No, I’m not mixing my movies. The Distortus Rex (a name I didn’t makeup) looks like if Return of the Jedi and Alien got drunk and, nine months later, the result was a baby no mother could love.

    And that just about sums up the movie as a whole. Okay, so maybe that’s a little harsh. Jurassic World Rebirth isn’t the worst movie in the franchise. That’s because Jurassic World: Dominion exists. And this latest film does have a few really fun action sequences, including our old friend the T-Rex. And, Johansson, Ali, Bailey, and Friend give pretty good performances when they easily could have phoned them in and nobody would have noticed or cared.

    Conclusion

    Between the unnecessary Delgado family, the insipid and lazy mutant dinos, the film consisting largely of rehashing stuff from its preceding films, and two Titanosaurs getting to second base with each other as the humans watch in awe, Jurassic World Rebirth inspires the same question as every family with several children – are we done yet?

    Rating: Ask for seventeen dollars back and call your doctor if you experience blurred
    vision, bleeding from the ears, involuntary eye-rolls, memory loss, a severe drop in IQ, or
    a strong desire to throw Junior Mints at people who unironically clap at the end of this
    movie.

    More from Cinema Scholars:

    MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE – Judgement Day

    MAD HEIDI: A Review Of The Modern Grindhouse Epic

    Keep up with Cinema Scholars on social media. Like us on Facebook, subscribe on YouTube, and follow us on Twitter, Threads, and Instagram.

    The post JURASSIC WORLD REBIRTH Review – More Like Afterbirth appeared first on Cinema Scholars.





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  • Guest on the Kicking the Seat’s YouTube Channel Talking “F1” — Every Movie Has a Lesson

    Guest on the Kicking the Seat’s YouTube Channel Talking “F1” — Every Movie Has a Lesson







    MEDIA APPEARANCE: Guest on the Kicking the Seat’s YouTube Channel Talking “F1” — Every Movie Has a Lesson





























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